Remember to support your ideas with details from the writing. Read this passage carefully, and then answer the question that follows it: Walter: [stares at the money]: You trust me like that, Mama? Mama: I ain't never stop trusting you. Like I ain't never stop loving you. [She goes out, and WALTER sits looking at the money on the table as the music continues in its idiom, pulsing in the room. Finally, in a decisive gesture, he gets up, and, in mingled joy and desperation, picks up the money. At the same moment, TRAVIS enters for bed.] Travis: What's the matter, Daddy? You drunk? Walter: [sweetly, more sweetly than we have ever known him]: No, Daddy ain't drunk. Daddy ain't going to never be drunk again Travis: Well, good night, Daddy. [WALTER has come from behind the couch and leans over, embracing his son.] Walter: Son, I feel like talking to you tonight. Travis: About what? Walter: Oh, about a lot of things. About you and what kind of man you going to be when you grow up Son ... son, what do you want to be when you grow up? Travis: A bus driver. Walter: [laughing a little]: A what? Man, that ain't nothing to want to be! Travis: Why not? Walter: 'Cause, man it ain't big enough – you know what I mean. Travis: I don't know then. I can't make up my mind. Sometimes Mama asks me that too. And sometimes when I tell her I just want to be like you - she says she don't want me to be like that and sometimes she says she does Walter: [gathering him up in his arms]: You know what, Travis? In seven years you going to be seventeen years old. And things is going to be very different with us in seven years. Travis One day when you are seventeen I'll come home – home from my office downtown somewhere Travis: You don't work in no office, Daddy. Walter: No – but after tonight. After what your daddy gonna do tonight, there's going to be offices a whole lot of offices Travis: What you gonna do tonight, Daddy? Walter: You wouldn't understand yet, son, but your daddy's gonna make a transaction a business transaction that's going to change our lives ... that's how come one day when you 'bout seventeen years old I'll come home and I'll be pretty tired, you know what I mean, after a day of conferences and secretaries getting things wrong the way they do ... 'cause an executive's life is hell, man [The more he talks the further away he gets.] And I'll pull the car up on the driveway just a plain black Chrysler, I think with white walls no black tyres. More elegant. Rich people don't have to be flashy ... though I'll have to get something a little sportier for Ruth – maybe a Cadillac convertible to do her shopping in ... And I'll come up the steps to the house and the gardener will be clipping away at the hedges and I'll say 'Hello, Jefferson, how are you this evening?' And I'll go inside and Ruth will come downstairs and meet me at the door and we'll kiss each other, she'll take my arm and we'll go up to your room to see you sitting on the floor with the catalogues of all the great schools in America around you All the great schools in the world! And - and I'll say, all right, son it's your seventeenth birthday, what is it you've decided? ... Just tell me, what it is you want to be - and you'll be it ... Whatever you want to be Yessir! [He holds his arms open for TRAVIS.] You just name it, son [TRAVIS leaps into them.] and I hand you the world! [WALTER's voice has risen in pitch and hysterical promise and on the last line he lifts TRAVIS high.] CURTAIN [from Act 2, Scene 2] How does Hansberry powerfully portray Walter's thoughts and feelings at this moment in the play?